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User Image tomasvh Posted: Sep 6, 2016 7:22 AM (UTC)
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"Schoolyard" 2014, one of my 150x100 cm gelatin-silver prints from the Blue Sky Days series which will be part of the #Surveillance exhibition at the Nelson-Atkins Museum of Art (@nelsonatkins) from Sept. 16 to Jan. 29. http://www.nelson-atkins.org/art/exhibitions/surveillance/

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User Image tomasvh Posted: Feb 16, 2018 8:05 AM (UTC)

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Last two days to see 'Blue Sky Days' at BOZAR Centre for Fine Arts in #Brussels. There are 12 of my large-format gelatin silver prints in the 'Watching You, Watching Me' exhibition. More info at https://www.bozar.be/en/activities/136146-watching-you-watching-me @bozarbrussels @pulitzercenter @harpersmagazine @viiphoto #surveillance #blueskydays
User Image tomasvh Posted: Feb 13, 2018 5:44 PM (UTC)

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#Repost @harpersmagazine
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In 1821, Mexico won independence from Spain, and much of what is now the American West was Mexican land. The country soon abolished slavery; black Mexicans gained prominent positions, and indigenous people were given the right to vote. All this came to an end in 1848, when the United States seized half of Mexico’s land and created the border that we know today. // Imagined portraits from the Mexican era by @tomasvh for his series “Lines and Lineage,” in our February issue (link in @harpersmagazine bio). ・・・ Note from the author: These portraits are of direct descendants of families who have lived in the Far West since before U.S. annexation in 1848. Photography was invented in 1839, but didn't arrive in the Far West until after the U.S. seized the land. This project imagines what portraits and landscapes would have looked like if photography had arrived while Mexico still administered the region. Who would have been the subjects? What kinds of faces did they have? What did the previous Mexico-U.S. border look like? Since photography only arrived after U.S. conquest, both the written and visual 19th century histories of the region were written by the winners—namely Anglo men who believed in Manifest Destiny and therefore the supposed inferiority of Hispanics, black and indigenous people. They created a visual record celebrating the Gold Rush, English-speaking cowboys, the arrival of the railroads and local American notables. The contributions and legacy of Hispanics and indigenous people were long ignored or erased. #wetplatecollodion #collodion #wetplate @pulitzercenter @viiphoto #LinesandLineage
User Image tomasvh Posted: Feb 13, 2018 4:58 PM (UTC)

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User Image tomasvh Posted: Feb 13, 2018 4:16 PM (UTC)

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Somewhere near Rome
User Image tomasvh Posted: Feb 11, 2018 12:59 PM (UTC)

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The Seine, Paris.
User Image tomasvh Posted: Feb 11, 2018 10:31 AM (UTC)

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User Image tomasvh Posted: Feb 11, 2018 9:33 AM (UTC)

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Riverbank of the Seine in Paris in the snow.
User Image tomasvh Posted: Feb 10, 2018 3:14 PM (UTC)

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For those of you curious about the equipment that I've been using to photograph my “Lines and Lineage” project, @viiphoto is displaying what the members of the collective have in their bags. (Go to http://vii.agency/bag to see them all.) Pictured here:
my 9x12cm wooden field camera (made in Paris circa 1870), lenses and @bostickandsullivan wet plate chemicals. @pulitzercenter @catchlight.io #wetplatecollodion #collodion #wetplate #LinesandLineage
User Image tomasvh Posted: Jan 25, 2018 5:56 PM (UTC)

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I finally got my hands on a print copy of the Feb. issue of Harper's (@harpersmagazine) with my #LinesandLineage photo portfolio. @catchlight.io @pulitzercenter. The portraits in this project are of direct descendants of families who have lived in the Far West since before U.S. annexation in 1848. Photography was invented in 1839, but didn't arrive in the Far West until after the U.S. seized the land. This project imagines what portraits and landscapes would have looked like if photography had arrived while Mexico still administered the region. Who would have been the subjects? What kinds of faces did they have? What did the previous Mexico-U.S. border look like? Since photography only arrived after U.S. conquest, both the written and visual 19th century histories of the region were written by the winners—namely Anglo men who believed in Manifest Destiny and therefore the supposed inferiority of Hispanics, black and indigenous people. They created a visual record celebrating the Gold Rush, English-speaking cowboys, the arrival of the railroads and local American notables. The contributions and legacy of Hispanics and indigenous people were long ignored or erased. #wetplatecollodion #collodion #wetplate @viiphoto #LinesandLineage
User Image tomasvh Posted: Jan 25, 2018 5:45 PM (UTC)

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Briefly back in the NYC. I took this #thermal image during a helicopter flight the last time I was in Manhattan with a #FLIR camera. Last week in Mexico, I experimented with more cameras that capture non visible wavelengths while working on my @catchlight.io Fellowship. More to come soon... @pulitzercenter @thephotosociety @viiphoto
User Image tomasvh Posted: Jan 14, 2018 12:47 PM (UTC)
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My Blue Sky Days prints will be on display at the #BOZAR Centre for Fine Arts in #Brussels ( @bozarbrussels ) from Jan. 25 to Feb. 18, 2018 as part of the Watching You Watching Me group exhibition. #belgium #surveillance #blueskydays
User Image tomasvh Posted: Nov 2, 2017 9:10 PM (UTC)

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It's not everyday you have the honor to meet a 105-year-old woman, much less have the opportunity to take her portrait with a camera that is 150-years-old, like I did on Tuesday. Here is her glass plate portrait in the fixer tray. Join me this Saturday in San Francisco at the @catchlight.io events to find out all about my latest photo project: https://www.eventbrite.com/e/discover-amplify-inspire-tickets-37718958420 @pulitzercenter @viiphoto #LinesandLineage #wetplatecollodion #collodion #wetplate
User Image tomasvh Posted: Jul 24, 2017 5:39 AM (UTC)

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Changing locations almost everyday, I've made over 100 glass plates in the past few weeks. This video of me is by my top notch assistant on this trip, @gustavoaquiros. #linesandlineage #altacalifornia @pulitzercenter @catchlight.io
User Image tomasvh Posted: Jul 16, 2017 11:51 PM (UTC)

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User Image tomasvh Posted: Jan 30, 2017 2:56 PM (UTC)
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Over the past year, I retraced the refugee trail through Europe with an Augmented Reality app, looking for photos that people had posted and geo-tagged to Instagram along the way. View the "Traces of Exile" feature on the New Yorker website by typing: http://nyer.cm/UaGiZRl or see the long form video installation at the @ICP Museum in #NYC and the @SECCAcontempArt Museum in #Winston-Salem. #TracesofExile @thephotosociety @newyorkerphoto @newyorkermag @pulitzercenter
User Image tomasvh Posted: Dec 16, 2016 12:10 PM (UTC)
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Only two weeks left to see my #BlueSkyDays exhibition at @anastasiaphoto1 gallery in NYC, including this 40x26" gelatin silver print titled "Domestic Gathering." Show ends Dec. 31st. @viiphoto @thephotosociety
User Image tomasvh Posted: Oct 23, 2016 8:13 AM (UTC)
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Today is the last day to see @lenaherzog_photo's #LastWhispers immersive art installation at the British Museum. I contributed several segments of aerial #drone video for the installation, including this family of #swans crossing a pond. Last Whispers is a project about a mass extinction. Every two weeks, the world loses a language. At an unprecedented speed, faster than the extinction of some species, our linguistic diversity—the very means by which we know ourselves—is eroding. Today, more than half of the world population speaks only 30 of the 7,000 languages remaining on earth. It is estimated that at least half of the currently spoken languages will have died by the end of this century. Some estimates project a much greater speed of this disappearance. (Last Whispers was conceptualized, directed, and produced by Lena Herzog with sound design and compositions by Marco Capalbo and Mark Mangini. Tomas van Houtryve contributed original drone videography.)
User Image tomasvh Posted: Sep 6, 2016 7:22 AM (UTC)
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"Schoolyard" 2014, one of my 150x100 cm gelatin-silver prints from the Blue Sky Days series which will be part of the #Surveillance exhibition at the Nelson-Atkins Museum of Art (@nelsonatkins) from Sept. 16 to Jan. 29. http://www.nelson-atkins.org/art/exhibitions/surveillance/